Alison Willmore: "[...] as the fuzziness between TV and film increases, with filmmakers moving more frequently between the two mediums and small screen storytelling beginning to catch up with big screen scope and ambition, will the invasion of TV projects into territory that was previously the domain only of movies become a more common thing?"

The Digital Rocking Chair's insight:

Cool! Jane Campion's six-hour television miniseries, Top of the Lake is screening in a single session at the Sundance Film Festival.

Here, you'll not only find articles on the many facets of transmedia storytelling, but also articles exploring the creative and technical achievements of individual platforms. If you would like to know more about my approach to curating this topic, then please follow the title link to Scoop.it's Lord of Curation Series. I really enjoy your support and hope you find the articles that I share as interesting and useful as I do.

Thank you Scoop.it for the recognition and acknowledgment, it is very much appreciated.

Alex Kane: '“Today’s most innovative artists are always looking for new ways to push boundaries, with their music and their means of connecting with fans,” says [Lucas] Wilson. “[...] We’re used to going to concerts, but very few of us have actually been on stage. We’ve grown accustomed to hearing from our favorite artists on social media, but rarely do those words come directly from their mouths. VR is changing all that. It’s the most personal way of connecting with your fans.”'

Alex Kane: '“Today’s most innovative artists are always looking for new ways to push boundaries, with their music and their means of connecting with fans,” says [Lucas] Wilson. “[...] We’re used to going to concerts, but very few of us have actually been on stage. We’ve grown accustomed to hearing from our favorite artists on social media, but rarely do those words come directly from their mouths. VR is changing all that. It’s the most personal way of connecting with your fans.”'

Adi Robertson and Ben Popper: "Reitman worked with Utah startup The Void as it developed its VR companion to the upcoming reboot, and we got the chance to chat with him about emotional storytelling, technology, tickling digital ghosts, and bringing pornography to high-end virtual reality."

Sickhouse - the first SnapChat-based film--brought to mind Blair Witch Project. Both are revolutionary in their use of media to capture authenticity, breaking the fourth wall, and capturing the audience's imagination by fiddling with reality vs. fiction. Using SnapChat is a clever device to make the film timely and raw.

First adopters always have the advantage of challenging the audience's existing mental models about where and how reality ends and fiction begins. This is a nice metaphor for social technologies as an extension of the social space rather than "some other place." It is exactly that understanding that made the initial launch so powerful.

SnapChat also demands a 'Heminwayesqe' brevity and succinctness to scene construction, especially in real time. Creating a horror film is a bit of a cheat as all that heightened anxiety increases the "need to know" among the audience that encourages following the story through. Nevertheless, with so many moving parts, it makes sense to use a genre with wide socioemotional appeal.

The irony is that it didn't all disappear in the SnapChat way, and thus challenges how we understand SnapChat as well. I have wondered for some time, given the creativity that SnapChat unleashes, how long people will be willing to just let their mini-artworks go into the ether. When we create, it is part of us. We have a long history of documenting acts of creativity because it is how we share our most human qualities.

Snapchat movie Sickhouse was a real success. "Everyone was hooked. People trust that what they are seeing on their snap stories is real", said he director Hannah Macpherson. One key was to cast a protagonist who already was a social media pop star (Andrea Russett). She posted the videos from her own account.

Simon Staffans: "[...] how can we chase our story more efficiently? Here are three tools for anyone to use, that might put you on the right track – the only thing you need is a willingness to challenge your story as it stands today" ...

For those of you who believed the written word was dead, not so fast! The unending appetite for good stories and Wattpad as a vehicle for storytellers (think YouTube for readers) provides an obvious entry point for marketers who can craft compelling brand narratives. The value of storytelling in text is that is that it lets the reader supply the visual storyworld through their imagination, instantly turning them into stakeholders.

A group of researchers, from the University of Vermont and the University of Adelaide collected computer-generated story arcs for nearly 2,000 works of fiction, classifying each into one of six core types of narratives (based on what happens to the protagonist).

Alejandro Dinsmore: "Chris Milk, one of the leading creators in the VR space is moving away from thinking about VR as a medium in which the author tells a story, and toward thinking about it as a medium in which viewers can, for the first time, step directly into the world of the creator."

Chris O'Falt and Sarah Colvin: "IndieWire examines how much money, crew, time and equipment it took to shoot the 34 Competition Pilots that screened in Denver. [....] What we learned was that shooting an indie pilot is not terribly different than shooting the micro-budget features that find their way to film festivals."

Mona Lalwani: "Storytelling in virtual reality has yet to take shape. While the simulated world of gaming has proved the visual capabilities of the medium, few have taken a crack at the art of building a compelling narrative."

Derek Thompson: "The problem for Hollywood isn’t that audiences are ignoring sequels. The problem for Hollywood is that audiences are ignoring everything that isn’t a sequel, adaptation, or reboot. The market for films based on stories that aren’t already famous is threadbare. These sort of stories exist in entertainment, but consumers, and particularly young consumers, are looking for them outside of darkened theaters."

Caty McCarthy: "Before Winston, a glasses-clad gorilla scientist, was leaping across maps to crush his enemies in the chaotic multiplayer battles of Overwatch, he was merely a young ape with big aspirations and an affinity for peanut butter. But you wouldn’t know that from merely playing the game."

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